Would the mini series be able to recapture the magic that made the original show so compelling? Would it justify its return after 14 years off air? Join me as I cast an eye over the six new episodes to find out, ranking them from worst to best. Just one word of warning... as this is an adult series, some of the images below may contain graphic elements that are unsuitable for younger readers.
There’s no such thing as a bad season of The Wire, but one has to come last, so here is the “least greatest” run of the show. Season two is actually incredibly important to the show’s development, because it takes the main criminal characters of the first run and pushes them to the background, instead focussing on the Greek and Polish immigrants of the docklands. What this does is not only cause the relative absence of the main leads to make the viewers anticipate their return, but also expands the scope of the entire series, so that Baltimore effectively becomes another character, and we’re seeing a bigger picture. The Wire was an incredibly intricate, ambitious programme, and with this run it played the long game in terms of development. And, while the main “street level” characters took a back seat, we still get to witness classic moments like Omar Little in a trial case and the introduction of Brother Mouzone.
The finale couldn’t top the high quality of seasons three and four, but it’s a testament to the quality of the programme that a season as good as this doesn’t even make the top three. The Wire is such a dense and intricate programme that, while these “worst to best” overviews are hopefully an enjoyable read, there isn’t enough room in an article of this format to do justice to it all. However, this season very much belongs to Marlo Stanfield, arguably the smartest and most ruthless of all the drug dealers.
In terms of personal favourites, then there are so many fantastic characters in the series that to narrow it down to just a handful would be to do the programme a disservice. However, of particular note are lovable street junkie Bubble and, particularly, Omar. A shotgun-wielding loner who operates by his own code, taking drugs from drug dealers due to a personal quest only he really understands, he enters combat by whistling “ “. To add contrast to the character, he also refuses to swear, and is seen in homosexual relationships. The character’s contradictory nature and actor Michael K Williams’s engaging portrayal make him one of the finest characters in television history.
The Wire opted for naturalism, and Bubble getting a happy ending was perhaps a rare sign of the writer’s hand, giving a doomed, tragic character what the audience would have secretly desired. Narratively it’s something of a cheat, but a pleasant one. Yet the biggest corrosion of the show’s former realism comes with Detective Jimmy McNulty fabricating cases in order to maintain a budget for the department. While some situations throughout the series could be a little far-fetched, this is the most “out there” development.
A pleasing addition is having semi-regular character Clay Davis elevated to a regular, with an appearance in every episode. Among the many unintended catchphrases of the show (following the likes of “weak connect” and “all in the game, yo”, phrases that will be picked up by viewers via osmosis) comes actor Isiah Whitlock Jr. and his unforgettable “sheeeeeeeeeeeiiiiiiiiiiiiit”.
Perhaps the only real sticking point is the rendition of the theme tune, “Way Down In The Hole”. Written by Tom Waits (who sung it for season two), it was performed by The Blind Boys of Alabama in season one and The Neville Brothers for season three. The rap version by DoMaje for season four may have been an odd stylistic touch with the song, but did reflect that season’s themes. For season five, musician Steve Earle (who also acted in the season, playing the character “Walon”) gave a rendition of the theme that can perhaps be best summed up as “an acquired taste”.
text
text
text